Af alle Mester Mateo's malerier er The disappeared façade at the end of the Camino (1211) det mest berømte; det hænger på Catedral de Santiago Foundation Museum i Santiago de Compostela. Lige efter følger Base of the mullion of the Portico of Glory (1188) og Trinity of the Portico of Glory (1188). Blandt de 44 værker af Mester Mateo i vores katalog er disse 44 de mest fejrede, hver vist med sin dato, sit museum og sin historie.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret oktober 2026. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion på lærred, eller som et kunsttryk i den størrelse, du vælger.
The disappeared façade at the end of the Camino is a square format work by the sculptor Master Mateo. Created about 1211, this piece originates from the period when the artist was actively shaping the architectural identity of the Santiago de Compostela Cathedral in Spain.
To stand before the Portico of Glory is to witness a profound shift in the language of stone. This specific base of the mullion, carved around 1188, offers a glimpse into the transition from the rigid forms of the Romanesque to a more fluid, naturalistic sensibility. Here, the stone does not merely exist; it breathes. The sculptor, Master Mateo, utilized a technique known as trabajo vivo, layering limestone to create…
Divine Presence in Stone The capital features God the Father holding the Christ child upon his lap. Above them, the Holy Spirit takes form as a dove at the peak of the composition. Angels surround these central figures, carrying incense burners to complete the celestial scene. This sculptural arrangement uses the trabajo vivo technique, layering stone slabs to create textures that mimic flesh and fabric. The result is a sense…
In the hallowed atmosphere of the Santiago Cathedral, where history and spirituality converge, stands a figure of profound majesty: the Statue-column of King David. Carved by the legendary Master Mateo around 1188, this Romanesque masterpiece is far more than a mere architectural ornament; it is a window into the soul of the twelfth century. The sculpture captures the biblical monarch in a moment of eternal resonance, seated upon a cross-frame…
The Glory, Central Arch, Portico of Glory is a sculptural work by Master Mateo. It forms a primary component of the Portico of Glory, located at the Cathedral of Santiago de Compostela in Spain. This specific section of the portal was part of a complete three-piece set that reached its conclusion in 1211. The work is currently held at The Catedral de Santiago Foundation in Santiago de Compostela.
Within the sacred shadows of the Portico of Glory, a profound scene unfolds in stone. The Elders holding instruments, Central Arch, Portico of Glory emerges from the limestone, appearing as if caught in a moment of eternal preparation. This work, created by the hands of Master Mateo, brings the figures of the Apocalypse into a tangible, breathing presence. They sit amidst the radial archivolts, their bodies leaning toward one another…
These two stone voussoirs, titled Voussoirs with the punishment of lust, were executed by the sculptor Master Mateo. The carvings date to about 1188. They represent a specific sculptural program intended for the architectural framework of the cathedral's entrance.
The stone breathes under the soft, diffuse light of the cathedral, revealing a figure caught in a moment of eternal devotion. Here, within the central arch of the Portico of Glory, Saint Matthew sits with a quiet, heavy presence. He is a winged presence, his form emerging from the granite with a startling sense of life. He leans over a desk, his knees supporting the weight of his task, as…
The limestone relief of Saint Luke, carved around 1211, occupies a central position within the Portico of Glory at the Cathedral of Santiago de Compostela in Spain. The figure is depicted reclining on his right side, a posture that suggests both physical repose and deep introspection. In his left hand, he holds a book, while his head rests upon a lamb, a direct reference to his role as an Evangelist…
The relief known as Arma Christi, Central Arch, Portico of Glory is a sculptural work by the artist Master Mateo. This specific piece is situated within the Central Arch of the Portico of Glory. It was created in 1211. The work is part of a larger architectural and sculptural program located at the Santiago de Compostela Cathedral in Galicia, Spain.
Santo dos Croques of the Portico of Glory is a sculptural portrait by the artist Master Mateo. This kneeling figure represents the sculptor himself, positioned at the foot…
Master Mateo and his team also worked on the construction of the choir in the first 4 sections of the cathedral
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The narthex (or antechamber) of the Portico of Glory had a western facade that served as the gable of Santiago Cathedral, as well as completing it. The facade…
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The Portico of Glory of Santiago de Compostela Cathedral is a Romanesque portico and the cathedral
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The crypt, also known as the
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In the Glory as well, beside the evangelists Saint Luke and Saint Marcus, we can find a series of angels that carry the “arma Christi”, the instruments used…
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In the delicate, monochromatic strokes of the drawing Drawing José Vega y Verdugo (1656-1657) Archivo de la Catedral, we are invited to step into a vanished era of…
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This last scene, commonly from Byzantine art, does not come from the Bible but from one of the apocryphal gospels, the Nicodemus. It is told that when Christ…
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The work to the cathedral facade between 1519 and 1521 involved its 3 doors, and it was necessary to take down the column statues and reliefs added by…
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Items made by Master Mateo in the cathedral collections include significant pieces from the great western facade that completed the Portico of Glory. This facade was first modified…
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Master Mateo and his team also worked on the construction of the choir. It was closely related to the Portico of Glory as both focus on sharing the…
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In the lintels where the Portico of Glory settles can be found Master Mateo’s commemorative inscription of its placement the 1st of April of 1188. This epigraph, one…
Få det malet i hånden from $178 →De fire motiver, der optræder hyppigst på disse lærreder, hver med sit mest elskede eksempel.
De 2 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Mester Mateo | Malerier fra denne liste |
|---|---|---|---|
 Catedral de Santiago Foundation Museum |
Santiago de Compostela | 40 | The disappeared façade at the end of the Camino, Base of the mullion of the Portico of Glory, Trinity of the Portico of Glory |
 Cathedral |
Santiago de Compostela | 4 | Portico de la Gloria, Portico de la Gloria (detail), Portico de la Gloria |
To stand before the Portico of Glory is to witness a profound shift in the language of stone. This specific base of the mullion, carved around 1188, offers…
Santo dos Croques of the Portico of Glory is a sculptural portrait by the artist Master Mateo. This kneeling figure represents the sculptor himself, positioned at the foot…
The disappeared façade at the end of the Camino is a square format work by the sculptor Master Mateo. Created about 1211, this piece originates from the period…
The disappeared façade at the end of the Camino (1211), Catedral de Santiago Foundation Museum, Santiago de Compostela. Base of the mullion of the Portico of Glory (1188) og Trinity of the Portico of Glory (1188) følger efter.
Mester Mateo, født i 1161, var 50 år gammel: The disappeared façade at the end of the Camino er fra 1211.
The disappeared façade at the end of the Camino, Base of the mullion of the Portico of Glory, Trinity of the Portico of Glory, Statue-column of king David, The Glory, Central Arch, Portico of Glory, The Elders holding instruments, Central Arch, Portico of Glory, Voussoirs with the punishment of lust, Saint Matthew, Central Arch, Portico of Glory, Saint Luke, Central Arch, Portico of Glory og Arma Christi, Central Arch, Portico of Glory. Hvert lærred i den ovenstående rangliste er angivet med årstal og museum.
44 værker af Mester Mateo er i vores katalog, dateret fra 1188 til 1211.
Primært i Catedral de Santiago Foundation Museum (Santiago de Compostela) og Cathedral (Santiago de Compostela); listen ovenfor nævner hvert museum og dets lærreder.
I 1210s, som udgør 24 af de 44 værker på denne side, herunder The disappeared façade at the end of the Camino.
Det tidligste lærred her er Base of the mullion of the Portico of Glory (1188); det seneste er The disappeared façade at the end of the Camino (1211).
Sculpture (6), Medieval art (5) og Stone (4), fordelt på de 44 værker på denne side.
Stone, anvendt i 11 af de 44 værker på denne side.
Romanesque, som lærrederne på denne side viser.
Catedral de Santiago Foundation Museum, Santiago de Compostela har 40 af værkerne på denne side, herunder The disappeared façade at the end of the Camino, Base of the mullion of the Portico of Glory og Trinity of the Portico of Glory.
Ja. Hvert maleri på denne side kan bestilles fra sin egen side som en håndmalet oliereproduktion eller som et kunsttryk i den størrelse, du vælger.
Mester Mateo, en billedhugger hvis navn forbliver indhyllet i mystik på trods af hans monumentale bidrag til Katedralen i Santiago de Compostela, står som en af de mest ærede skikkelser inden for romansk kunst i Spanien. Han blev født omkring 1161 i Galicien, og selvom de præcise detaljer om hans liv er knappe, hviler Mester Mateos eftermæle primært på hans uovertrufne bedrift: Portico de la Gloria. Dette åndeløse arkitektoniske vidunder dominerer katedralens facade og legemliggør det tolvte århundredes spirituelle glød. Han trådte frem som billedhugger i en periode præget af intens religiøs hengivenhed og kunstnerisk innovation, i en verden hvor pilgrimsruten til Santiago allerede var en transformativ rejse for tusindvis af sjæle.
Begyndelsen på hans største værk tog fart omkring 1188, da han fik til opgave at overvåge skabelsen af den tredelte portal, som skulle blive hans magnum opus. Selve Katedralprojektet var blevet udtænkt årtier tidligere, drevet af kong Alfonso VIII og næret af stedets enorme religiøse betydning. I denne hellige kontekst udhuggede Mester Mateo ikke blot sten; han pustede liv i dem. Hans involvering i Portico de la Adamant var en guddommelig opgave, der transformerede en strukturel nødvendighed til en teologisk fortælling, som fortsat fanger både pilgrimme og kunsthistorikere.
Mester Mateos skulpturelle stil er kendetegnet ved en bemærkelsesværdig realisme, der repræsenterede et dybt brud med tidligere, mere stive romanske konventioner. Mens hans samtidige ofte støttede sig til stiliserede, flade figurer, studerede Mester Mateo omhyggeligt menneskelig anatomi og draperings komplekse fald, hvilket resulterede i en forbløffende nøjagtighed i hans fremstillinger. Hans beherskelse af udskæring i kalksten var uovertruffen, især gennem hans brug af en teknik kendt som trabajo vivo. Denne metode indebar lagdeling af stenplader for at skabe teksturerede overflader, der efterlignede udseendet af kød og stof, hvilket gav en følelse af bevægelse og vitalitet til det statiske medie.
Denne innovative tilgang gjorde det muligt for ham at bygge bro mellem det jordiske og det guddommelige. Når man betragter hans arbejde, kan man se, hvordan han dygtigt udnyttede lys og skygge til at forstærke dybden i sine relieffer. Hans evne til at manipulere sten for at antyde blødheden i en helgens klædningsstykke eller den muskuløse spænding hos en bibelsk figur løftede hans håndværk til et sofistikeret niveau, der sjældent blev set i middelalderen. Denne tekniske genialitet sikrede, at hans figurer ikke blot var symboler, men nærværende skikkelser i katedralens indgangsparti.
Portico de la Gloria fungerer som det ultimative vidnesbyrd om Mester Mateos kunstneriske og spirituelle vision. Dens centrale paneler skildrer dybe scener fra evangelierne – herunder fødslen, bebudelsen og korsfæstelsen – arrangeret på en måde, der guider beskueren gennem en hellig historie. Ikonografien er omfattende og kompleks og indeholder:
Gennem disse værker opnåede Mester Mateo en historisk betydning, der rækker ud over hans egen fødetid. Han førte den romanske stil mod den spirende elegance i den gotiske stil og efterlod en arv, der forbliver hjerteslaget i Santiago de Compostela. Hans arbejde står som en permanent bro mellem middelalderens tankegang og det evige, hvilket sikrer, at selv århundreder efter hans død i 1217, fortsætter gløden fra hans stensymfoni med at indgyde ærefrygt.
